Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Rajkumari song’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4271 Post No. : 15502 Movie Count :

4272

Today, 28th March, is the remembrance day of another famous creator of musical melodies who has given us some of the most charming songs rooted in the classical music of our country. Shrinath Tripathi or SN Tripathi, passed away, this day in 1988 in Bombay, at the age of 75.

Regulars will remember the film ‘Achhoot Kanya’ (1936), and the iconic song “Main Ban Ki Chidiya Ban Ke Ban Ban Boloon Re”, so wonderfully composed by Saraswati Devi, and rendered by Ashok Kumar and Devika Rani, In an interview once, Ashok Kumar had described how this song was prepared. He was a novice at that time, and not a trained singer. He says that this song was rehearsed for almost a month before Saraswati Devi was satisfied enough to proceed to the recording room. The main stumbling notes for Ashok Kumar and for Devika Rani were the enhanced emphasis on “. . .Boloon Re” and “. . .Doloon Re”. Ashok Kumar narrates that it took him and Devika Rani one full month to render this emphasis to the satisfaction of the music director. A lesser known trivia attached to this anecdote is that SN Tripathi was the assistant music director for this film, and he conducted these rehearsals with the singers for the said one month.

Born in Benaras on 14th March, 1913, young Shrinath got associated quite early with Badriprasad, who was also from Benaras. [Note: Yes, the same Badriprasad whom we are more familiar as a character actor / music director / dance director / story and dialogue writer in Hindi films.] Badriprasad was already associated with the theatre scene in Benaras. Shrinath started to assist him with composing music for the stage plays, according to the scene and action on stage. In the company of Badriprasad, he also got wonderful opportunities to meet and listen to many other artists of classical music, vocal and instrumental, as part of the active cultural environment in the city.

Later, Badriprasad made his way to Calcutta and joined the theatre activities there, and eventually moved to films, and thence migrated to Bomabay (now Mumbai). Shrinath came to Lucknow and joined the Morris College of Music. That is where he met with Himanshu Rai and Devika Rani, who had come scouting for music talent for their production house – Bombay Talkies. They invited Shrinath to Bombay, and he joined them as a violinist and and assistant in the music department. The year would have been 1933 or 34, as his first credits are as the assistant music director for the 1934 film ‘Jeevan Naiya’.

He remained with Bombay Talkies till the release of film ‘Bhabhi’ in 1938. The he struck out, seeking assignments as an independent music director. His first break was with the film ‘Chandan’, which was apparently delayed and got released in 1941. There started a career that continued till the mid 1980s. His last film was ‘Mahasati Tulsi’ (1985). From the mid 1960s to mid 1980s, his assignments dwindled quiet a bit. The musical tastes were changing more towards orchestral and western style tunes. He got confined to religious films and regional films. Coming into the 1980s, he did only 3 films from 1981 to 1985.

As happens usually, the industry stopped paying any attention and his last years were spent in financial difficulties. He left this world after a brief illness, in 1988.

The film ‘Choodiyaan’ was released in 1942. The film was produced under the banner of Prakash Pictures and was directed by KJ Parmar and LJ Bhatt. The cast of actors included Prem Adeeb, Maya Bannerji, Jeevan, Shakir, Gulab, Bholaram, Meher Sultana, Baby Tara, Ranibala, Sitaram, Chiman Seth, Lakshmi, Vasant Kanse, Athawale, OP Sharma amongst others.

The film had eleven songs written by five lyricists – Pt Indra, prem Adib, Ramesh Gupta, Sharma and Tiwari. This song is written by Tiwari. My intuition says that the full name of this song writer is Neelkanth Tiwari. The time period is the same. His career also begins from 1941.

The song is rendered by Rajkumari (Rajkumari Dubey). The song presents a generic ode to the jewllery item ‘choodi’ (bangle). The song presents a  brief description about its construction, and its importance. The beauty of the song is that it is presented as a first person i,.e. the bangle itself is presenting this song. Given that the name of the film is ‘Choodiyaan’, this song might well have been the theme song of the film, and quite possibly may have been played at the time of credits. I request more knowledgeable readers to please add more information about this song and it picturization.

With this song, the film ‘Choodiyaan’ makes its debut on our blog. 🙂

[Note: There is one word in the lyrics that I seek help from readers to decipher. It is in the second antaraa. I request other readers and friends with keener ears to please help.]

Song – Choodi Hoon Main, Ek Kahaani Hoon Main (Choodiyaan) (1942) Singer – Rajkumari, Lyrics – Tiwari, MD – SN Tripathi

Lyrics

choodi hoon main
ek kahaani hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

bana kaanch ka hai kada mera tan
bana kaanch ka hai kada mera tan
darpan sa nirmal hai par mera mann
darpan sa nirmal hai par mera mann
zara thhes pahunchi tadakti hoon main
zara thhes pahunchi tadakti hoon main
aisa hai naari ka komal ye mann
aisa hai naari ka komal ye mann
naari ke sapnon ki rani hoon main
naari ke sapnon ki rani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

patli kalaai hai phoolon ki daal
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
pyaari ke yauwan ka main hoon basant
pyaari ke yauwan ka main hoon basant
preetam ke mann mein thhirakti hoon main
preetam ke mann mein thhirakti hoon main
laakhon baras ki jawaani hoon main
laakhon baras ki jawaani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————

चूड़ी हूँ मैं
एक कहानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं

बना काँच का है कड़ा मेरा तन
बना काँच का है कड़ा मेरा तन
दर्पण सा निर्मल है पर मेरा मन
दर्पण सा निर्मल है पर मेरा मन
ज़रा ठेस पहुंची तड़कती हूँ मैं
ज़रा ठेस पहुंची तड़कती हूँ मैं
ऐसा नारी का कोमल ये मन
ऐसा नारी का कोमल ये मन
नारी के सपनों की रानी हूँ मैं
नारी के सपनों की रानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं

पतली कलाई है फूलों की डाल
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
प्यारी के यौवन का मैं हूँ बसंत
प्यारी के यौवन का मैं हूँ बसंत
प्रीतम के मन में थिरकती हूँ मैं
प्रीतम के मन में थिरकती हूँ मैं
लाखों बरस की जवानी हूँ मैं
लाखों बरस की जवानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं


This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4238 Post No. : 15450 Movie Count :

4256

Today’s song is from the film Jhankar-42. The song is sung by Rajkumari and chorus. It is a traditional song written by Amir Khusro.

This film was a special film for many people. The Music Director of this film was Bashir Dehlavi who started his career as a Music Director with this film. The film was the first film made by the banner-Silver films, Bombay. The director was S. Khalil making his debut with this film. The cast of the film was Chandra Mohan, Pramila, M.Kumar, Azuri, Shehzadi, Gope, Altaf, Ghulam Mohammed, Chandra kumar and many others.

The cast of the film displays names of artistes who had almost passed their best years. Most actors were from the 1930s and now they tended to do side roles since lead roles were not coming that frequently. Due to excess alcohol, the handsome fine actor Chandramohan was on his way to self destruction. By 1949, his condition was worsoned irreversibly and he died of Liver Cirrhosis. Ghulam Mohammed, once a Hero, was reduced to character roles and after Partition he migrated to Pakistan.

Pramila did only one more film Beqasur-50 and retired from films. In 1942, she did 4 films. The last 1942 film she did was her husband’s film Jhankar-42. Kumar shifted his focus to producing and directing films and finally he too migrated to Pakistan. He continued acting in Pakistan films. Altaf was the husband of actress Khurshid jr. (elder sister of Meena kumari), who was getting edged out slowly as an actress. Actress Shehzadi Jr. also migrated to Pakistan after failing as a Producer (Utho Jaago-47). Gope’s and her last film as a leading pair was Hanso hanso aye duniyawalon, also in 1942. After this film, Gope became a Comedian for full time.

With such cast and debutante director and music director, the new company tried to make a Comedy film. I have not seen this film and I could not find its story or review anywhere on internet or in Film India magazine. However, from the film’s advertisements in the magazine and the news bits in it, I find that the film was not very successful, but must have given enough boost for the producers to go ahead and make 6 more films in next 8 years.

One of the owners of this banner- Silver Films – was actor M. Kumar, who was a successful artiste in the 30s and 40s, having worked with many prestigious banners. KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India, on 23-9-1906. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.

He was a handsome and tall person. He was keen on joining cinema, so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Sitara-32 and Zinda Lash-32, he was hero in PURAN BHAGAT in 1933. Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a Muslim name of the hero of PURAN BHAGAT, in the tense atmosphere of Calcutta.The director of the film was Kumar Debaki Bose,a person from a Royal family. He took a decision and told Mijjan,” from today, I am giving you a part of my name. You will become KUMAR now.” This solved the film release problem and thus his name became KUMAR, then onwards. Truly enough, Debki Bose, thereafter never used his name Kumar again in his life !

After doing Yahudi ki Larki, Kumar came to Bombay. First he worked in Sagar ( 3 films) , Imperial (2 films)and then joined Ranjit Studios.

He married another actress PRAMILA , who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947. They got a son and a daughter Naqi Jehan (who too became a Miss India in 1967, exactly 20 tears after her mother.) Naqi acted opposite Rajesh Khanna in Akhari Khat, as a Heroine. Later she married into the business family of Kamdar of Bombay and became Mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage. His first wife and children shifted to Pakistan after the Partition.

Kumar did many films in Ranjit, but in 1942, he was removed from Ranjit. At the same time, his friend, CHANDRAMOHAN also left Minerva Movietone (reason-despite PUKAR-39 being a blockbuster, his salary was not increased inspite of a promise by Sohrab Modi).They both decided to launch own company and on 16-3-1942, SILVER FILM CO. was launched. Its first film was Jhankaar-42. They produced Bhalai-43, Bade Nawab Saab-44, Devar-46, Naseeb-45, Dhun-53 and Bahana-60. Kumar acted in these films. He also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his own company, Kumar Studios.Then under Shama Productions, he made Nahle pe dehla, Dhoom Dham and Dilbar. Later in life he made Badal aur Bijlee and Jungle King under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.

From Najma in 1943, Kumar did only character roles in films like Bhishm Pratigya, Dayara, Mahal, Shri 420, Khiladi, Maalik, Baiju Bawra, Yahudi ki Ladki. His memorable role was in Mughal e Azam, that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)

In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in 22 Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. He gave one Superhit and three Hit films in Pakistan. Interestingly, he continued to act in the name of Kumar only, without using his original Muslim name there. Kumar died on 4-6-1982.

Film Jhankar-42 director S.Khalil directed only 7 films – jhankar-42, Nai Zindagi-43, Bhai Jaan-45, Shahkar-47, Sartaj-50, Gunehgar-53 and Benazir-64.

There is one more name ” Chandra Kumar” in the cast. Hardly, anyone will know who this actor was. He was none other than actor Anil Kumar (real name- Sardar Gul), who actually started his career with Minerva Movietone with its first film ” Said-E-Havas”-36, with the name Chandrakumar. After that he took the name Anil Kumar, but in this film he acted with this name, surprisingly. May be in few other films too he used this name.

Actor Anil Kumar (Sardar Gul) was born in 1915 at Calcutta. His father had a fruit business. They were from Peshawar (just like Dilip Kumar). He was not much educated but could speak Hindi, Urdu and English fluently. Once he went to Bombay to meet a friend. There he met an old acquaintance, who took him to Sohrab Modi.

The good looking Sardar Gul was liked by Modi and he offered him the lead role in his film ‘ Saed E Havas’-36. Sardar Gul was given a screen name of Chandra Kumar. The film was based on a translation of William Shakespeare’s drama- King John, by Agha Hashra Kashmiri in 1907. Sardar Gul was to get Rs. 200 for this work. The film was a flop and Sohrab Modi refused to pay him more than Rs 50. Annoyed, he left Bombay and returned to Calcutta.

However he came back in 1938 and did his first film with a new screen name Anil Kumar. The film was Talwar ka Dhani-38. Soon he was well known and acted in 10 films in next 3 years. As the decade of the 40s saw many new actors, producers and directors, he was reduced to Character roles and side roles. By 1950, he was almost like an extra. He did work in many films, but only few films credited him, as his roles were negligible. We find his name in just 30 films, where he was credited, the last such film being Tarzan and Deliailah-64.

Today’s song is sung by Rajkumari and chorus. The MD Bashir Dehlavi started his career with this film and gave music to 6 more films. His last film was Hawai Khatola-46. The song is a traditional one, written by Amir Khusro (1253 – 1325). This song is used in many films. some films are Heer Ranjha-48, Suhag Raast-48, Nadir Shah-68, Maang bharo Sajna-80 and Umrao Jaan-81 etc. Amir Khusro’s some other songs in films are Chhap tilak sab chhini re in Main Tulsi tere aangan ki- 78 and Rain suhag ki jaagi in Junoon-78.

Let us now enjoy this traditional song. With this song, Film Jhankar-42 makes its Debut here.


Song-Kaahe ko byaahi bidesh re lakhi baabul morey (Jhankaar)(1942) Singer-Rajkumari Dubey, lyrics-Amir Khusro, MD-Basheer Dehalvi

Lyrics

Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey

gudiya khilaune maine taak mein chhode
gudiya khilaune maine taak mein chhode
chhoda saheliyon ka saath re
lakhi Baabul more
chhoda saheliyon ka saath re
lakhi Baabul more

Kaahe ko byaahi bides re lakhi baabul morey

sona bhi deenha baabul rupa bhi deenha
sona bhi deenha aa aa aa aa aa aa
sona bhi deenha baabul rupa bhi deenha
deenha ratan jadaau re
lakhi baabul more
deenha ratan jadaau re
lakhi baabul more
Kaahe ko byaahi bides re lakhi baabul morey

itna dihin baabul ???
itna dihin baabul ???
saas nanand bole bol re lakhi baabul morey
saas nanand bole bol re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey

aam tale se dola jo niksa
aam tale se ae ae ae
aam tale se dola jo niksa
koyal sabad sunaaye re lakhi baabul morey
koyal sabad sunaaye re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey

tu kya boley meri kaali koyaliya
tu kya boley meri kaali koyaliya
chhoda baabul ka des re lakhi baabul morey
chhoda baabul ka des re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4121 Post No. : 15275 Movie Count :

4201

Today’s song is from a film Mangalsootra-1947.

In Maharashtra, from the 19th century onwards, theatre dramas became popular. They were the sole source of entertainment for the family. The stage dramas developed to a great extent, till about the 20’s decade of the twentieth century, when they faced their first competition – in the form of Silent films. However those films being silent, they could not compete wholly with dramas, which provided dialogues, living people on stage and above all music in the dramas.

However by 1931, the Talkie films arrived and the drama sensed the potential danger. They became alert. Still, the Talkie films were not invading the smaller towns as much as the bigger cities and so dramas survived for some time. As the time passed by and the film industry started inroads into smaller towns and villages, there was real panic. There was a Bee-line of stage actors, directors, singers and music directors to the Cinema world. It offered them name, fame and money. Not all were successful, but many musicians, writers and actors defected to this industry.

Even the big names in Marathi stage, like Bal Gandharva, Deenanath Mangeshkar, Nanasaheb Phatak, Master Avinash, dramatists like P K Atre, Mama Varerkar, Novelists like N S Phadke and V S Khandekar and musicians like Prof. B R Deodhar and Master krishnarao Fulambrikar etc tried their hand at this medium. One such name was a well known and very Popular Chintaman Rao Kolhatkar, who was an actor, director, producer and a playwright of repute in Marathi stage dramas.

He also tried his hand at acting in films as well as directing in both, Marathi and Hindi languages. He acted in 2 Hindi films, namely Andheri Duniya-1936 and Mangalsootra-1947. He also directed a bilingual in Marathi and Hindi film Krishna Arjun Yudha-1934. Here is his short Bio data from netizen.com –

Chintamanrao Ganesh Kolhatkar (12 March 1891 – 23 November 1959) , was a very prominent actor as well as producer, director and playwright of Marathi theatre. He joined the Maharashtra Natak Mandali in 1911, but after a year left for another troupe named as Shri Bharat Natak Mandali. His career took a major turn when he entered the Kirloskar Natak Mandali in 1914. He helped establish the Balwant Sangit Natak Mandali with Dinanath Mangeshkar in 1918. Chintamanrao Ganesh Kolhatkar’s greatest performances came in R. G. Gadkari-s plays, in Punyaprabhav i.e. Force of Virtue’ in 1916, Rajsanyas i.e. ‘Kingdom Renounced’ in 1922, and especially as the villain Ghanashyam in Bhavbandlmn i.e. ‘Bond of Affection’ in 1919. He tried the movie industry in 1933 when Sangitnatak began to decline and acted in two films, notably as the tyrant Shakara in Vasantsena in 1942. This was based on Sudraka, but failed in this medium and returned to theatre. He joined Gangadharpant Londhe’s Rajaram Sangit Mandali, worked with M. G. Rangnekar’s Natyaniketan, and established his own company, Lalit Kala Kunj. This one gave P. L. Deshpande a break. Kolhatkar was a non-singing actor, who took roles in Hindi and Urdu as well.
The Police Commissioner of Bombay felicitated him for his acting in Punyaprabhav. Jawaharlal Nehru once called him Bahurupi i.e. ‘many-formed’. This was a term applied to one-man folk performances, which Kolhatkar used as the title for his autobiography. He also wrote character sketches of several playwrights titled Majhe Natakkar i.e. ‘My Dramatists’, and a five-act play, Purnavatar i.e. ‘Complete Avatar’ in 1924. This was staged in 1996 by the group Antarnatya in Mumbai.
His son Chittaranjan Kolhatkar was also a very prominent , famous and prolific actor, producer and director of Marathi stage and films.
Chintamanrao was awarded Sangeet Natak Akademi Award in 1957, given by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama.

The cast of the film Mangalsootra-47 was Urmila, Anand, Chintaman Kolhatkar, Motibai, Shanta Kunwar, Sheelabai, Mehebano, Dalpat and many others. In the cast, you will find a name Urmila- in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated it with her good acting. Urmila Gupta was born in 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.

She started her career with a small uncredited role in film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in film Aasuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, Talwar ka Dhani-38, Kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamash-42, Kirti-42, Salma-43, Bansari-43 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, may be for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.

I do not know anything about the film Hero Anand. I have seen his name first time in a credit list. The film was made by Golden Pictures, Bombay. It was directed by Dada aka V M Gunjal. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur in 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry.
Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon ,realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.
When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films. Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc.

Dada Gunjal died in 1968.

The film’s Music Director was Ratanlal. He is one of those artistes, about whom hardly any information is available. All that we know about him is what is available in HFGK and books like Dhunon ki Yatra etc. There are only 4 films to his credit. For 2 films- Baraat-42, he gave music with Khemchand Prakash and for film Kismatwala-44 he was with Shanti kumar Desai. Independently he gave music to only Mangalsootra-47 and Parshuram-47.

As per January-1948 issue of magazine Film India, the film was released on 5-12-1947 at Swastik Cinema, Bombay. The review of the film done in this issue, by Baburao Patel is highly critical of every aspect of the film-acting, direction, technical support, story, dialogues etc etc. There is no comment on Music of this film, which means either he was satisfied with it or it was very much below standard to comment even. However, I have listened to some songs of this film and some other films of Ratanlal, I feel he was reasonably good composer. The review only praises the acting by actress Motibai in this film.

The story line of this film, as given in the review is…. Dayal, called popularly Dayal mama (Chintaman Kolhatkar), is a social worker and a Politician in a certain town. He is dragged into a false case and gets jail term of 10 years. After his going to jail, his wife Laxmi (Motibai) and daughter Radha (Urmila) become homeless and helpless. They leave the town and wander.

After 10 years, Dayal comes out of jail and looks for family, but he does not find them. He goes to another city, where, by chance he saves the Zamindar from riding on a Horse, which becomes wild. The Zamindar takes him home, treats him as a friend and appoints him his trusted Manager. Mohan (Anand) is his son, who completes his education. The zamindar dies and Mohan becomes the boss.

Meanwhile Radha grows up as a beautiful and attractive young girl. She and mother move to Mohan’s town, where Radha becomes the village teacher. Radha and Mohan fall in love. But Dayal is against this as Radha’s father is missing.

However, after few reels and may be few Love songs etc, Dayal Mama sees Radha’s mother Laxmi, in the last reel, recognises her. Now, Radha being his own daughter Dayal Mama gives Hari Zandi to Radha- Mohan marriage. All is well. The End. Clap, Clap, Clap.

With such poor and powerless story, what can Vrajendra Gaur, the script and dialogue writer do ? Actually Gaur was a well known and successful writer of many films in 40s and the 50s. He even directed film Kasturi-54. He wrote 59 songs in 13 films. Anyway, all in all, film Mangalsootra-47 was an eminently forgettable film.

With today’s song, this film and Music Director Ratanlal make Debut on the Blog.


Song-Jiya doley Jiya doley Jiya doley re (Mangalsutra)(1947) Singer- Rajkumari, Lyrics- Brijendra Gaud, MD-Ratanlal

Lyrics

Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
hauley hauley
hauley hauley
khaaye jhakoley
hey hey hey
hauley hauley
khaaye jhakoley
hey hey hey
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re

neel gagan mein kaale baadal
jhilmil jhilmil ho o
neel gagan mein kaale baadal
jhilmil jhilmil ho
khule chaman mein bhanwra rasiya
kaliyaan choome ho ho o
khule chaman mein bhanwra rasiya
kaliyaan choome ho o
haa aa aa aa
aa aa aa
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
hey ae ae
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re

chanchal lahren magan pawan ke
sang sang bal khaayen
chanchal lahren magan pawan ke
sang sang bal khaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
haa aa aa aa aa aa
a aa aa aa
donon mil ke ek nayi duniya basaayen
ho nayi duniya basaayen
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
ho ho o
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re ae ae


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3968 Post No. : 15050 Movie Count :

4128

Today’s song is from film Ghar ki shobha-1944.

The history of Hindi Film Music (HFM) begins with the very first Talkie ” Alam Ara”-1931, in which there were 7 songs. Madan Theatres, Calcutta, Krishna Cinetone, Bombay and few other production houses were busy hectically in 1931, to release their First Talkie film, ahead of all others. Lucky Ardeshir Irani got the cake and released his film Alam Ara before all others and engraved his name in the history of Hindi and Indian talkies. Music and singing being an integral part of the Talkie films, many musicians were attracted to films. Stage and Drama musicians and some classical singers joined films and gave music in them. In those days, Film music was totally influenced by Gujarati, Parsee and Marathi stage and Drama music (Natya Sangeet). Probably no one ever imagined that there was a need for a different approach to Cine Music.

For the first 9-10 years of Hindi films, i.e. 1931 to almost 1940,there was virtually no change in the music pattern or the singing styles of songs in films. By the end of the 30s, playback technique was gaining a foothold. This system actually freed the Cinema from songs sung by film stars who were no singers at all ! Genuine, independent, non-star singers were now available to give playback. This was the case in the western India or Bombay made films. The Eastern centre of Hindi film making-Calcutta was strictly following Robindra Sangeet and Nazrul Geeti, adapted into Hindi film songs. They also used more pure Hindi words like Preet, Prem, Bandhan, Milan, Sangam, Vyatha etc to appeal to Hindi belt audience.

Beginning of the change came from the far off Lahore. Dalsukh Pancholi’s “Khazanchi”-41 introduced for the first time the Punjabi folk tunes music in the voice of a New singer SHAMSHAD BEGUM. The use of Dholak and Punjabi robust rhythm in songs was tried by the composer Master Ghulam Hyder. This path breaking,new type of Music was received by the audience with great joy and love, all over India. With this was ushered in the VIBRANT changes HFM was to undergo in the 5th decade,i.e. from 1941 to 1949.

This was also the time when the old batch of actors, singers and composers were slowly getting replaced by a newer crop of artistes. Phirozshah Mistry, Master Ali Baksh, Jaddanbai,Lallubhai Nayak, Pransukh Nayak, Brijlal Verma, Nagardas Nayak, Sunderdas Bhatiya, Govindrao Tembe, Keshvrao Bhole, Master Krishnarao Phulambrikar, master Mohammed, Jhande Khan, Rewashankar Marwadi, B S Hoogan, Meer Sahab, Damodar Sharma, Jhande Khan, Rewashankar Marwadi, S P Rane, Vithaldas Panchotiya, Annasaheb Mainkar, Dada Chandekar, Mushtaq Hussain, Master Chhaila etc were disappearing one by one.

A new set of composers and singers like Anil Biswas, Ashok Ghosh, C.Ramchandra, Ghulam Hyder, Sajjad Hussain, Naushad, K.Datta, Govind Ram, Pt. Amarnath, Husnalal Bhagatram, Khemchand Praksah,Khursheed Anwar, Nissar Bazmi, Vinod, A R Qureshi, Saraswati devi, Bulo c Rani, Gyan Dutt etc were taking over from the old guards.

These new entrants brought with them melodious tunes and music from Goa, UP, Rajasthan, Bengal, Maharashtra, Punjab, Kashmir etc and their experimentation truly enriched the HFM making it a genuinely All India music.

In the 40s, the HFM became absolutely VIBRANT. The new composers with new ideas and hard work tried to understand what the audience wanted. In other words,we can say that hitherto the film music was ” Sales Oriented ” (selling what you produce) till the 30s decade, but the 40’s music was ” Market oriented” (producing what the audience wants). Now, there was a fair and healthy competition and a wide variety in music. The composers too had new singers who were trained and had a singing voice and talent, unlike the earlier ‘Untrained forced singers’. Naushad Ali had once said,’’ The coming of Rafi and Lata liberated we composers from the painful task of making the ‘musically illiterate’ actors and actresses.” Thus Ashok kumar,Leela Chitnis and the likes of them were left alone to concentrate on their acting,while the trained singers sang for them.

New and exclusive playback singers like Amirbai, Zohrabai, Kalyanibai, Rajkumari Mohantara, Shamshad, lalita Deulkar, G M Durani, Rafi etc became popular. Actually, the lead actors now started deciding who should sing their songs. This paved the way for stars to become powerful in coming period.

Like Music, the type of cinema stories too started changing. The Fantasy, Stunt, Mythological, Historical, Religious and Costume dramas gave way to Love stories, Musicals. Family dramas, Comedy, Crime stories…so on and so forth. Overall, the cinema industry was going through a overhauling. However, the winds of Independence, after the world war put a brake to these changes. 1945 to 1950 was a period of turmoil and matters settled fully with the advent of the new decade of the 50’s.

In this change over, here was a film discussing the problems of a Happy Home. Ghar ki Shobha-1944 was a film which stressed the importance and need of the capable housewife who was an ” Adarsh” Bahu, Bibi, Mother and everything else the society needed !

The main players in this family drama were, Karan Dewan, Swarnalata, Jagdish Sethi, Dixit, Fazlu, Ramesh Saigal etc etc. The film was directed by Harshadrai Mehta- who became a well known director in Tamil films of Madras, later. Ramesh Saigal assisted him in direction. Harshadrai Sakerlal Mehta

was a Pioneer Hindi and Tamil director born in Mota, Bardoli Dist., Gujarat. Started as a painter, editor and cameraman at Kohinoor (1919), but made his début for Krishna Film (Ver Ni Vasulat). At Krishna he began his association with long-time partner and cameraman Luhar (e.g. Be Din Ni Badshahi, Amar Asha) making melodramas often starring the Anglo-Indian star Ermeline. Best-known film of this period is Janjirne Jankare, the much-acclaimed Rajput romance scripted and shot by Luhar. Made his most influential films with the famous Mehta- Luhar Prod. set up in 1931 with Bapubhai Desai and the informal support of the Sharda Studio. Made several Sharda-type stunt movies featuring e.g. Navinchandra. Moved to Coimbatore’s Premier Cinetone (1937) and made a number of Tamil films.

In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.

Dewan Karan Chopra aka Karan Dewan ( 6-11-1917 to 2-8-1979 ) youngest of three brothers was born at Gujranwala, Punjab (now in Pakistan), British India. He studied in Lahore, where he became interested in Journalism and started editing a film magazine in Urdu, Jagat Lakshmi. One of the local distributors he met was Tarachand Barjatya, who was then the Manager of Chandanmal Inder Kumar’s distribution office at Lahore. Through his connection with Barjatya he landed in Calcutta, and in 1939, made his acting debut as Puran in the Punjabi feature film Puran Bhagat

Dewan started his film career with the role of Puran in Puran Bhagat in Punjabi in 1939 in Calcutta. It was produced by Raisaheb Sukhlal Karnani and directed by Roop K. Shorey’s father R. L. Shorey. His second film Mera Maahi (1941) was also a Punjabi film, directed by Shankar Mehta at Lahore and starring Ragini and Manorama. This was the movie in which he sang songs for the first time in the movies under the baton of legendary music director Shyam Sunder. Later, in Rattan, he sang for the first time in Hindi movies for Naushad. B R Chopra, then working as a film journalist in Lahore, helped Karan Dewan to get in touch with Devika Rani, who invited Dewan to come to Bombay. When this did not helpDewan get films, he taught “Urdu pronunciation to actors and actresses”.

In 1944, Karan Dewan acted in Rattan, a musical romantic drama, directed by M. Sadiq, which became one of the most popular films of that year. “A tremendous hit”, it paired Dewan with Swarnalata. His decisive film was Rattan (1944), which was produced by his brother Jaimini Diwan, and this movie had turned out to be the biggest hit of 1944. He also sang songs in this movie under music director Naushad, and his song “Jab Tum Hi Chale Pardes” became popular. He sang in films such as Piya Ghar Aaja (1947), Mitti Ke Khiloune (1948) and Lahore (1949). His other important films were Zeenat (1945), Lahore (1949), Dahej (1950), Bahar (1951) and Teen Batti Char Rasta (1953). Known as a “jubilee star”, about twenty of his films are stated to have been jubilee (twenty-five weeks or more) hits.

Dewan married co-actress Manju in 1944 following the release of Rattan, in which she had a character role. By 1966, he was working as a casting agent for the film unit of Maya (1966). He continued to work in the 1960s and 1970s playing supporting parts in films such as Apna Ghar (1960), Shaheed(1965), Jeene Ki Raah (1969) and Nadaan (1971), with the last film in which he was credited being Sohanlal Kanwar’s Atmaram (1979).

He worked in 73 films and sang 18 songs in 9 films. He worked with all leading actresses of his times,including Noorjehan and Nargis. At the end of his career, however, he was down financially and had to work as a Manager with B R Chopra’s company. When he died, except two workers of Cine artistes association, no one else from Film industry was present.

Ustad Alla Rakha aka A R Qureshi ( 29-4-1919 to 3-2-2000) gave music to this film. Having started only in 1943 with Mahasati Anusuya, film Ghar ki shobha-44 was his only the second film as an MD. So his music sounds fresh. After you hear today’s song, you will agree with me. He gave music to 40 films, composing 356 songs. He also sang 14 songs in 7 films.

In the cast of this film, there was one fading actor – Dixit, from the Dixit and Ghori pair of that era. The projected themselves on the lines of Laurel and Hardy…Hardy being our Dixit. Later, Yaqub and Gope triede to project their image as Laurel and Hardy and still later Johar and Majnu tried to copy Bob Hope and Bing Crosby of Hindi cinema ! Let’s take a look at Dixit and Ghory- a very popular comedy pair of early cinema.

Manohar Janardhan Dixit was born on 12-11-1906 at Sinner in Nashik district,Maharashtra (Bombay state at that time.) His comedy career started with silent film ‘Sparkling youth’-1930. His first day of work in a film was 14-11-1929. He did 3 more silent films with Navjivan Films and then joined Ranjit studio. Here he met his mate Nazir Ahmed Ghori,born on 11-8-1901 at Bombay.He was the senior of the two,having started in 1927. He worked till 1931 in silent films of various companies and then joined Ranjit studio in 1931 Here too he did 4 silent films.

He paired with Dixit first time in Char Chakram-1932,directed by Jayant Desai.The film was a terrific hit and the pair did many films together like, Bhutio mahal,Do badmash,Bhola shikar,Bhool bhulaiya,Vishwamohini,nadira etc. They worked together till 1947,doing solo films also in between. Unfortunately none of their films have survived and we know about their acting only through Photographs,interviews and articles. However Dixit’s solo films like Pehle aap-44,Jeevan yatra-46,Aap ki sewa mein-47 and Pugree-47 are still available.In film Pugree,his name was Ramu kaka and the very fat Dixit (222 pounds) carried the world’s smallest dog-Chikoo in the film.Later comedian Omprakash did this role in the remake of the film in Dil Daulat Duniya-1972.

Dixit acted in 66 Talkie films and 8 silent films in 17 years. He died on 29-6-1949 due to a massive heart attack. His partner Ghori migrated to Pakistan and did 8 films there till 1960, without much success. He died on 9-12-1977 at Karachi.

Today’s song is sung by Rajkumari. Note the type of music and tune. With this song, film Ghar ki Shobha-44 makes its Debut on the Blog.


Song-Main duniya ki raani (Ghar Ki Shobha)(1944) Singer- Rajkumari, Lyrics- Roopbani, MD- Alla Rakha Qureshi
unknown male voice

Lyrics

Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
firti hoon mauj manaati
firti hoon mauj manaati
chhed chhaad se dil behlaati
chhed chhaad se dil behlaati
karti hoon main manmaani
karti hoon main manmaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

main ?? kheloon
saagar se geet bakheroon(?)
main ?? kheloon
saagar se geet bakheroon(?)
aazaadi ki deewaani
aazaadi ki deewaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

meri laila jaisi aankhen
meri laila jaisi aankhen
sab majnu ban kar jhaanken
sab majnu ban kar jhaanken
zulfen to mast jawaani
zulfen to mast jawaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

?? kar pankh hilaati
bhanwron ko paas bulaati
?? kar pankh hilaati
bhanwron ko paas bulaati
patthar dil kar doon paani
patthar dil kar doon paani
haay haay laila
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3936 Post No. : 15011 Movie Count :

4113

Today’s song is from a film Gorakh Aaya-1938. The title of the film looks rather odd. Who is Gorakh ? May be a question in many readers’ minds. Let me explain that Gorakh is a short form of Gorakhnath- who was one of the early Navnaths, from Nath Sampraday. Have I made it more complicated ? So, let us first understand what it all means…

A brief description of the Nath Sampradaay. It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nath implies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).

The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath (मच्छिंद्रनाथ). The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.

The second Guru is Gorakh. The story of Gorakhnath birth is- The first Guru Machhindra Nath went to a house for Bhiksha. The lady of the house, after serving him the Bhiksha, asked him if he can help her in any way to get a long desired child. Guru Machhindra Nath dipped his hand in his Zoli and took some some Vibhuti (ash) He gave it her and asked her to eat it and she will conceive a son. After he is gone , one of the neighbours of that lady tells her not to believe all this. The lady gets a doubt and throws the Vibhuti on a pile of garbage.

Time passes on. After 12 years, Machhindra Nath again comes to the lady and asks, how her son was. The lady, ashamed, tells him the truth. The Guru goes to the Garbage and gives a loud call, ” My son, come here “. From the garbage rises a son of about 12 years. He is Gorak Nath. Machhindranath takes him away with him and gives him the Deeksha (ceremony of bestowing the discipleship) of Nath Sampraday. Go means Earth and Rakh means to protect. So Gorakh is one who is protected by Mother Earth.

There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows

Machhindranath ( मच्छिंद्रनाथ )
Gorakhnath ( गोरखनाथ )
Jalandhar Nath ( जालंदरनाथ )
Kanif Nath (Kanhoba) ( कानिफनाथ )
Gahini Nath ( गहिनीनाथ )
Raja Bhartrihari Nath (Bharthari) ( भरथरी )
Revan Sidha Nath (रेवानसिधानाथ )
Charpati Nath and ( चर्पतीनाथ )
Naag Nath. ( नागनाथ )

The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or Nav Nath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made. There could be some more films also on this subject.

The story of this film is quite interesting. The film was made by Ranjit Movietone. Screenplay was by Gunwantrai Acharya and dialogues and lyrics were by P L Santoshi. Cinematography was by Krishna Gopal and Music was composed by Gyan Dutt. The film was directed by Chaturbhuj Doshi- who made his debut as a film Director.

Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like Gunsundari (1948) and Nanand Bhojai (1948). He was “well known” for his family socials and had become “a celebrity in his own right”. He made a name for himself as a journalist initially and was referred to as the “famous journalist” & publicist by Baburao Patel, editor of Filmindia.

His debut film as a director was Gorakh Aya (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, The Secretary, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like Secretary and Musafir (1940), but then “shifted to more significant films”.

Early life and career – Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.

Film Gorakh Aya (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialog-ues by P. L. Santoshi. The music, termed “good” was composed by Gyan Dutt. The Secretary (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costu-me drama, which had Charlie playing a prince.

Bhakta Surdas, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred K. L. Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.

Maheman (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.

Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film Kariyavar in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like Vadilo Ne Vanke (1948) by Ram chandra Thakur and Gadono Bel (1950) by Ratibhai Punatar. His next Gujarati film was Jesal Toral (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, Vevishal, an adaptation of Meghani’s novel of the same name.

He also wrote stories, and one of his stories Pati Bhakti was used in the Tamil film En Kanawar (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was Sanskar-1958. He had also written few songs in film Maya Bazar-32.

Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography-1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).

The film had a cast consisting of Mazhar Khan, Trilok Kapoor, Rajkumari and Kalyani in lead roles, Ila devi as the Egyptian queen, Ram Apte, Sarla, Bhagwandas etc etc. Rajkumari Dubey made her debut in this movie as a playback singer. Till then she had only sung for herself.

The story of the film was…..

Machhindranath (Mazhar Khan) observes uncivil excesses in temples. Disgusted he leaves for Himalayas for Meditation. After 7 long years, he comes back with a conclusion that Women are the cause of all problems in this world.
Meanwhile the Egyptian queen (Ila Devi) plans to raid India and camps on the banks of the river Indus. A Rishi kanya (Kalyani) builds an army of women. Machhindranath also builds an all men army and defeats the invader.

One day Tilottama-the head of women’s army (Rajkumari) and Machhindranath meet and they fall in love. He gets totally immersed in her love magic and forgets his duty also, spending life with Tilottama.

His disciple Gorakhnath(Trilok Kapoor) gets worried. He enters the women’s army camp stealthily, reaches Machhindranath and shouts in his ears “Utho Machhinder, Gorakh Aaya’. After few days’reminders, Machhindranath realises his folly. They both escape the women’s camp and continue their duties deligently as before.

This film was released on 30th July 1938 at West End Theatre in Bombay, Baburao Patel, in his magazine Film India, has praised the direction of Chaturbhuj Doshi. As a publicity gimmick, the opening day’s all shows were kept only for women. This helped greatly and in no time the film became popular and a Box Office success.

One of the singer actors was Ram Apte- the child artiste, who was no more like a child. Even Film India criticised him as a child artiste. Ram Apte had been working as a child actor from Vishwa Mohini-1933. Till 1938, he worked in 25 films in child roles. he also sang 4 songs in 3 films. After Gorakh Aaya-38, he gave up working as child artiste.

As I have not seen this film, I do not know on whom this song is filmed, but from the lyrics, it sounds as if it is between two friends. With this song, film “Gorakh Aaya”(1938) makes its Debut on the Blog.


Song-Wo din gaye hamaare (Gorakh Aaya)(1938) Singers- Rajkumari Dubey, Miss Kalyani, Lyrics- P L Santoshi, MD- Gyan Dutt

Lyrics

wo o o din gaye hamaare
wo o din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
main thhi chhail chhabeeli raadha
wo thhe mohan pyaare
main thhi chhail chhabeeli raadha
wo thhe mohan pyaare
khel rahe thhe swapn lok mein
aasha nadi kinaare
khel rahe thhe swapn lok mein
aasha nadi kinaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare

prem ki jyot jaga jaa dete (?)
man mein preetam pyaare re
prem ki jyot jaga jaa dete(?)
man mein preetam pyaare
man mein preetam pyaare
pyaare
pyaare
ye din pyaare pyaare
ye din pyaare pyaare
main ban jaaun raseeli raadha
tum ban jaao kunj bihaari
main ban jaaun raseeli raadha
tum ban jaao kunj bihaari
dekh hamaari leela nyaari
hansen gagan mein taare
hansen gagan mein taare
taare
ye din pyaare pyaare
ye din pyaare pyaare


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3861 Post No. : 14876 Movie Count :

4067

Today’s song is from film Toofan Queen-46. From the title itself, it is clear that this was a C grade Action/Stunt film. This is confirmed once you see its cast comprising of Fearless Nadia, Prakash, Shanta Patel, Anant Prabhu, Shyamsunder, Agha Shapur, Vijay Kumar and Motor cycle ” Champion”.

In Nadia’s films, not only the human characters had names but even her animal helpers and Auto machines had special names. As long as she was in Wadia Movietone, till 1942, she had Punjab ka beta (Horse), Gunboat (Dog), and Austin ki beti ( a jalopy). After she joined Homi Wadia’s Basant Pictures, she had Rajpoot (Horse), Moti (Dog) and Austin ki bachhi (a jalopy). In addition, whenever required, she used a Motor cycle called ” Champion” !

Stunt films was one of my favourite Genres in my younger days. Now of course, this genre does not exist anymore. The action and stunt part of the film is entrusted to the Special effects Team- deleting the need of stunt actors. The Hero of the film himself does most of the stunts and fighting, even in a social film, so the stuntmen and fighters have hardly any job now to justify a complete Stunt film. Actually the line between social and action, social and musical and social, comedy, horror, historical and stunt film is no more visible !

From the days of silent films till about the middle of the 50s, stunt type of films were being made. In early cinema, Shankar rao Vazre, Ganpat Bakre, Yeshwant Dave and Master Vithal were the popular ” Maar peet” film Heroes. Later on, Fearless Nadia took over the reigns and the Genre concluded with films made by Bhagwan dada.

Music in stunt films had insignificant value or importance, so there were no specialised composers in this field. Since stunt films were made generally on shoe-string budgets, any composer, who settles for minimum fees would be selected. Therefore one would see strange unknown composers like Dilip Chand Vedi, Master Dinkar, Brijlal, Mushtaq Ahmed, Sunder das, Master Mohammed, Mohd. Hussain, M.Chhaila, Ram Hira,H.R.Bhalla, Master manzoor, Motilal, G.A.Khan, Amir hussain Khan, Kanhaiya Pawar, Vinod Ganguli, S.N.Manjrekar, Kikubhai Yagnik, Abdul karim khan etc etc.

Some of the composers, who made a name later on in film industry, actually started their careers from stunt, action and Mythological films . One such prominent name was that of CHITRAGUPTA ( SHRIVASTAV ), who gave music to film Toofan Queen-46, our today’s film.

Chitragupta Shrivastav (16-11-1917 to 14-1-1991) was born, brought up and educated in Bihar. He was perhaps the most educated composer of his times. He had done M.A. in Economics from Patna University and also taught for few years. He came to Bombay in 1945 and having learnt classical music wanted to become a composer. He started as an assistant to S N Tripathi. His first break came in 1946 with ” Lady Robin hood”. Initially he got only stunt and devotional films to do. In 1955, Dada Burman recommended him to AVM for “Shiv Bhakta “. This was a landmark film for Chitragupta, because he used Lata for the First time. Later Lata and Chitragupta had very good relations,till the end.

Actually Chitragupta should be counted as No 1 composer who gave very melodious songs to Lata, but this is forgotten, because like Madan Mohan, Roshan,S-J, C.Ramchandra or S D Burman, he never got big banner films ( at least not very often), which became a reason to discuss only their Lata songs frequently. Chitragupta always got mostly B and C grade films,which were not famous,but he was in no way less capable of composing good tunes for Lata.

Chitragupta was a very homely family man with a middle class mentality. He had a fun group comprising of Lata, Usha, Meena, Dilip Dholakiya, Prem Dhawan and Chitragupta. They used to have lot of fun at the home of Chitragupta. Lata liked their food very much. Chitragupta Shrivastav was a Kayastha ( ” Lalaji ” as they are called in Bihar ) and their Non veg food was excellent.

In the late 80s, I came in personal contact with Chitragupta,when my close friend’s daughter married his elder son. When Chitragupta learned that I liked ” Sattu ki poori ” very much, he called me to his house and we ate Sattu Puris and Alloo Sabji, to our heart’s content !

His house in Prabhat building on Khar Road,Bombay had a Music room on the ground floor,where he composed his most tunes during 1959 to 1990. During the early 60s upto 65,he was so busy with work that-according to his son Anand- at one time 4 Lyricists were writing Lyrics in his home,Anand Bakshi in Garden,Majrooh in a room,Rajendra krishna in the Music room and Prem Dhawan under a palm tree and Chitragupta used to visit one by one to see their progress !!

Chitragupta was such a simple person that when S-J demanded 5 Lakhs per film,he hesitated to ask for 50000 !

He remained a typical Gentleman till the end. He was expert in using Bihari folk tunes in his songs. He became the First MD of the First Bhojpuri film ” Ganga maiyya tori piyri chadhaibo’-1962. His main singers remained Lata, Rafi and Mukesh.

As far as singing songs is concerned, it was his hobby. He must have sung about 30 odd songs in 16 films in his career. Most songs were for S N Tripathi,who was his Guru in film Music. He gave music to 149 films, composing 1036 songs. His last film was Shivganga-1989.

Film Toofan Queen-46 was a stunt film, featuring Fearless Nadia, prakash etc etc. A lot has been written on Nadia here and on the Internet. I too have written about Nadia, especially, how I was able to meet her in Bombay during early 80s, in one of my earlier articles. So, today we will know more about the Hero Prakash.

The real name of actor Prakash was Hashmat Ullah Khan. He was born in 1914 at Gwalior, where his father was a businessman.The family was originally a Punjabi Muslim. Hashmat studied somehow upto Inter arts and left the college. He was an overactive child , interested in acting in films. Hashmat ran away to Bombay and worked in Sagar Movietone. He got a small uncredited role in film Village Girl-1936. Not satisfied with this, he travelled to Calcutta.

In Calcutta, Hashmat worked in 3 films-Taqdeer ka teer aka Premlakshya-36,Hawai Daku aka Bandit of the Air-36 ( this was the first film of K N Singh as a Hero. Mazhar Khan was the villain here) and Dangerous woman aka Khatarnak Aurat-38. He also got a miniscule role in New Theatre’s film Abhagin-38. Not getting what he aspired, Hashmat shifted to Delhi and worked in A.I.R. as a singer. True to his nature within two years he left this job and landed in Bombay again.

It is reported that he was very arrogant, untrustworthy and a cheat of first rate. It seems he was quarrelsome, a liar and short tempered. His experiences,perhaps, taught him a lesson and he decided to change himself and concentrate on work seriously. This did good to him in his life. In Bombay first he worked in Garib ki ladki-40, but the film got delayed and was released in 41 only. Meanwhile he did Rani saheba-40 and Pyar-40 also. This time his career took a good turn. Till film Garib ki ladki-40, he used his name Hashmat for credits, but then he took a new name Prakash thereafter till the end.

A changed actor Prakash became acceptable to the industry and films were on his way. In all Prakash did 5 films as Hashmat and 38 films as Prakash. However, he got only action, stunt and C grade films. Once director W Z Ahmed met him and Prakash went to Shalimar Pictures Poona to do 3 films for them, namely Ek Raat-42, Prem Sangeet-43 and Mann ki Jeet-44. He was also a favourite of Master Bhagwan and appeared in many of his stunt films. The year 1946 proved to be the best year for Prakash, because he did 14 films in 1946.

After Partition he migrated to Pakistan and did few films there. He came back to India and did 3 films in the 60s. His last film was Suhag Raat -68. There is no information about him after that. May be he went back to Pakistan or died, we do not know.

Now enjoy today’s song. It is very melodious. I consider Chitragupta as the King of melodious songs. His song is always a guarantee of melody, a good tune and suitable musical accompaniment. Too sad, he was not recognised for his abilities by the industry and he always remained in the ‘B’ team of composers. Nevertheless, one should learn from him, how to be happy and contented with whatever one gets from Destiny !


Song-Tan pinjre mein mann ka panchhi chahak chak kar boley (Toofaan Queen)(1946) Singer- Raajkumari Dubey, Lyrics- Shyam Hindi, MD- Chitragupta

Lyrics

Tan pinjre mein mann ka panchhi
chahak chahak kar boley
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley

chhup ke dwaar
umangon ke koi
dheere dheere kholey
jiyara doley
doley
chhup ke dwaar
umangon ke koi
dheere dheere kholey
jiyara doley
doley

jinse naina lage hamaare
bade raseele bhole bhaale
jinse naina lage hamaare
bade raseele bhole bhaale
jinki soorat basi jiya mein
wo sapnon mein aane waale
jinki soorat basi jiya mein
wo sapnon mein aane waale
jinki ?? jhoom jhoom main
paaon ke ?? khole
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley

jo mere man ke aangan mein
kehte hain nit prem kahaani
jo mere man ke aangan mein
kehte hain nit prem kahaani
wo hain mere man ke raaja
main bani unki deewaani
wo hain mere man ke raaja
main bani unki deewaani
madhur madhur jinki baani
kaanon mein amrit ghole
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3853 Post No. : 14865 Movie Count :

4065

Today’s song is from the film Maharathi Karna-44, a film produced by Prabhakar Films and directed by its owner Bhal G. Pendharkar. Lyricist was Pt. Shiv Kumar and the music was provided by K.Datta aka Datta Korgaonkar. This Mythological film had top class actors in its cast- Prithviraj Kapoor, Durga Khote, Leela Chandragiri, Shahu Modak, Swarnalata, K N Singh and many more in other roles.

During my journey of life, I have found that the common man ( of any religion) has very little knowledge of his own religion. Even most of the educated people have scant information about the basics in their religion. Probably Religion is considered as something one gets to know only in the old age, when nothing else is to do. Just to check this, ask anybody who was Vidur ( Uncle of Kauravas and Pandavas), who was Jayadrath ( Brother in law of Kauravas..Husband of Dushala) or even who was Mandavi ( wife of Bharata)and Shrutikirti ( wife of Shrutikirti). You can hardly find a person who can tell names of 4 Vedas ( Rigved, Saamved, Yajurved and Atharvaved).

This is not exclusive to Hindus alone. I asked some of my Muslim friends and they confided in me that they have never read the Quran. They only know Namaz. Christians too are in the same category. I do not say that everyone should be an expert in Religion. That would be too much to ask for, but I feel atleast a basic knowledge is a must. This is our Heritage and it is applicable to all religions equally.

While watching or reading about a Mythological film. the references and the contexts become easier to understand the story, if one has the basic knowledge. Today’s film Maharathi Karna is obviously about the character Karna. Instead of checking if one knows about him, let us have some information about him- a character from one of our Epics-Mahabharat. Karna represents a right person who was at the wrong place or the Good amonst the Bad. I sympathise with Karna, because I feel that he was forced by the circumstances to join the Evil Kaurav camp.

Karna also known as Vasusena, Anga-Raja, Sutaputra and Radheya, is one of the major characters in the Hindu epic Mahabharata. He is the son of Surya (the Sun deity) and princess Kunti (later the Pandava queen). He was conceived and born to unmarried teenage Kunti, who hides the pregnancy, then out of shame abandons the new born Karna in a basket on a river. The basket is discovered floating on the Ganges River. He is adopted and raised by foster Suta parents named Radha and Adhiratha Nandana of the charioteer and poet profession working for king Dhritarashtra. Karna grows up to be an accomplished warrior of extraordinary abilities, a gifted speaker and becomes a loyal friend of Duryodhana. He is appointed the king of Anga (Bengal) by Duryodhana. Karna joins the losing Duryodhana side of the Mahabharata war. He is a key antagonist who aims to kill Arjuna but dies in a battle with him during the Kurushetra war.

He is a tragic hero in the Mahabharata, in a manner similar to Aristotle’s literary category of “flawed good man”. He meets his biological mother late in the epic then discovers that he is the older half-brother of those he is fighting against. Karna is a symbol of someone who is rejected by those who should love him but do not given the circumstances, yet becomes a man of exceptional abilities willing to give his love and life as a loyal friend. His character is developed in the epic to raise and discuss major emotional and dharma(duty, ethics, moral) dilemmas. His story has inspired many secondary works, poetry and dramatic plays in the Hindu arts tradition, both in India and in southeast Asia.

A regional tradition believes that Karna founded the city of Karnal, in contemporary Haryana.

One of the cast was actress Swarnalata, who married director Nazir, converted to Islam and migrated to Pakistan after Partition. She was heroine of Pakistans first ever Silver jubilee film Pherey (1949. As heroine she was seen in movies like Laarey (1950), Sherhri Babu (1953), Heer (1955), Golden jubilee film Noukar (1955), Noor-e-Islam (1957), Azmat-e-Islam (1965).

She was character actress in movies like Sawaal (1966) and Dunya Na Manay (1971).

Sawarn Lata was born on 20-12-1924 as a Sikh and converted to Islam after she married prominent actor, producer and director Nazir. The first film they produced in Pakistan was Heer Ranjha, but film print was destroyed due to poor negative of the film.

Her converted name was Saeeda Bano, she was born in 1924 in Rawalpindi and died on February 8, 2008 at Lahore.

Before partition she worked in Awaz (1942), Ishara and Tasveer (1943), Bari Baat, Rattan, Swarn bhomi and Us paar (1945), Chand Tara, Laila Majnu, Preetima, Preet (1945), Insaaf, Maa Baap ki laaj and Sham Savera (1946) and Abida (1947).

Contrary to the prevailing custom of having around 10+ songs in a film, the composer K.Datta had only 6 songs in this film and rightly so as Maharathi Karna was a Mythological film. When the story is strong, there is no need of musical support to the film.

K.Datta or Datta Korgaonkar alias Anna saheb, was born in Sawantwadi in konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He was called to Kolhapur in 1937 to give music to a Marathi film, Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq,followed by Alakh Niranjan-40, Geeta-40 ( in Hindi and Marathi) and Yaad-42.

He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. he composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in film Badi Maa-45. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.

His other films were Yateem-45,Shaahkaar-47,Rangmahal-48,meri kahani-48,Daaman-51,Gumaasta-51,Rishta-54,Harihar Bhakti-56 and Ajanabi-66. In all K.Datta gave independently music to just 17 films,plus one film Badmash-44,with Khan Mastana. His Marathi films were 12 from 1938 to 1965. After retirement in 1965,he spent his time in Bhakti, Pooja and Asrology. He used to have special Pooja on every Thursday,when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. He died on 23-12-1978.

He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta, are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”). K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!

Today’s song is a lovely song, with an excellent tune, sung by Rajkumari. With this song film Maharathi Karna-44 makes its Debut on the Blog.


Song-Suno suno hum tumhen sunaayen(Maharathi Karna)(1944) Singer- Rajkumari, Lyrics-Pt. Shivkumar, MD-K Datta

Lyrics

Suno suno
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor

ik naari thhi bholi bhaali
pagli preetam ki matwaali
ik naari thhi bholi bhaali
pagli preetam ki matwaali
sunte ho
sunte ho kuchh saaj(?) piya ke
naari bani chakor
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor

?? kali kali ka lobhi
sunte ho
aji sunte bhi ho
?? bhanwra nirmohi
nikla
hmm
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunayen
ae preetam chitchor
kahaani
suno hriday ke chor

preet ki aag se bhi na pighla
preetam ka man patthar nikla
preet ki aag se bhi na pighla
preetam ka man patthar nikla
naari laakh jatan kar haari
chala na kuchh bhi zor
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunayen
ae preetam chitchor
kahaani
suno hriday ke chor


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3813 Post No. : 14811 Movie Count :

4051

Today’s song is from an obscure old film of the first decade of the Talkie films- Snehlata-1936.

The song is sung by Rajkumari under the baton of Lallubhai Nayak. This Prakash Pictures’ film was directed by Balwant Bhatt-elder brother of another director Nanabhai Bhatt. The cast of the film was, Gulab, Jayant, Panna, Umakant, Shirin Bano, Rajkumari,Lallubhai etc etc.

When films started to be made in India, in the early part of the 20th century, only local talent was used,naturally. As the industry started taking a shape,it was seen as an opportunity to earn wages. It was also an industry which did not require high education, a better creed or a particular religion. All that was required was to look reasonably well ( even tolerable) and readiness to do work. When films were shown in villages towns and cities, it created a desire in the hearts of aspirants and a flow to the film centres like Lahore, Calcutta, Kolhapur and Bombay started.

The Talkie film set the norms for actors. for the main roles-good looks, ability to speak in Hindi and singing ability and for other roles-tolerable looks, readiness to learn and do hard work were the standards. Being Talkie, knowledge of speaking Hindi/Urdu became necessary. This automatically became an exit point for several European, Jew and Anglo Indian artistes who had dominated the silent films. Thus the gates now opened for Hindu and Muslim girls, boys and adults.

As the industry grew, opportunities and requirements increased. Aspirants from other than local stations started pouring in, making the film industry a true representative Of Bharat, that is India. people from far off places thronged to Bombay, Lahore and Calcutta. Bombay had artistes hailing from U.P., Rajasthan, Bengal, Punjab, Delhi in addition to Gujarat and Maharashtra. Some artistes came from obscure and far off places too.

Some such examples come to mind offhand are, Hero Vijaykumar came from Shimla ( later even Sheila Ramani also came from there), kamla Kotnis from Andhra, Ranjan from Tamilnad, A,K,Dar aka Jeevan and Chandramohan from Kashmir, Amirbai Karnataki from Hubli, Sarvottam Badami from Bangalore etc etc.

When actress Shyama Zutshi from Kashmir acted in films like Vishnu Bhakti-34 and Karvaan E Hayaat-35, there was a hue and cry. Famous actor Chandramohan – who too was from Kashmir-resented that women from Kashmir came into films and warned Shyama not to act in films and go back. Eventually, she left films and joined Politics with her father in Kashmir. She is popularly considered as the First Kashmiri girl in Hindi films- followed by Yashodhara Katju in the 40s and 50s. Now of course so many girls and boys are from Kashmir in films. However Shyama Zutshi was NOT the first actress form Kashmir.

The First actress form Kashmir to work as a Heroine in Hindi films was GULAB, who was part of the cast of today’s film Snehlata-36. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. her last film seems to be Haqeeqat-64 ( stats from MuVyz)

The Hero of film Snehlata-36 was Jayant. I used to like his masculine, well built personality and resonant voice. Rugged type of roles ( like in Madhumati-58) suited him best. I wonder how this Pathan must have acted in love story films ! His real name was Zakeria Khan. His family was from Peshawar. he was born on 8-10-1915. Till he was 15 year old, his father Sardar S.A.Khan was a Sports superintendent in Alwar state. After schooling, Jayant joined Alwar state army as second Lt. After 2 years he quietly resigned and proceeded to Bombay to become an actor. His family was unaware of this.

For few months, he went from one studio to another looking for an opening. Finally Director Vijay Bhatt met him and took him in Prakash Pictures Gujarati film ‘Sansar leela’-33, which was remade in Hindi as Nai Duniya-34. After this no work for few months and he did smaller roles in stunt films- about 30 films. Director Gunjal advised him to shift to Social films and he did Mud-40, opposite Shobhana Samarth. Then there was no looking back. Films like Mala-41( which was remade as Amar-54 and Jayant had acted in it also doing the same role), Zevar-42, Daavat-43, Poonji-43, Shirin Farhad-45, Maa baap ki laaj-46, Shoharat-48 etc came to him.

Jayant did 105 films. He sang one song in film State Express-38 also. His last film was Insaniyat-74. Film ‘Love and God’ was released in 1986. Jayant had 3 sons- Amjad khan (Gabbar singh), Inayat khan and Imtiyaz khan. Jayant died on 2-6-1975….just 2 months before film ‘Sholey’-75 was released !

The film was directed by the elder brother of Nanabhai Bhatt- Balwant Bhatt. He was born at Porbandar,Gujarat 0n 13-1-1909. Balwant started his career by assisting Naval Gandhi in 1930-31 and then N.B.Vakil at Sagar Studios in 1932. He turned Director with the advent of Talkie films and joined Prakash Pictures with Actress-1934. His first film was Chalta purja-1932 and the last one was Nagin aur Sapera-1966. He directed 33 films,mostly stunt and C grade films. He directed some Gujarati films like Sansar Leela,Seth Sagsha,Diwadandi,Snehlata etc.He was the producer of Dillagi-1942,Gunehgar,Alif Laila etc. Diwadandi-1950 became famous for its song-” Taari aankhni afini”, sung by Dilip Dholakia with music by Ajit Merchant. His film Mordhwaj-52 was the Debut film for MD Narayan Dutt. Balwant Bhatt died on 7-2-1965,at Bombay.

Film Snehlata -36 was also made in Gujarati. In those days, the regional language film industries were not that developed, so bilingual film making was quite common. The film seems to have had 7 songs, but HFGK mentions only 4 songs-all sung by Rajkumari, who was a regular singer in that period. The film ‘which was also known as ‘Bharat ki Devi’ had all songs written jointly by brothers Vijay and Shankar Bhatt.


Song- Hai dhanya tu Bharat naari (Snehlata)(1936) Singer- Rajkumari, Lyricist- Vijay and Shankar Bhatt, MD- Lallubhai Nayak

Lyrics

Hai dhanya tu Bharat naari
mahima hai teri nyaari
Hai dhanya tu Bharat naari
mahima hai teri nyaari
Ganga ki si ujiyaari
tu Ganga ki si ujiyaari
Ganga ki si ujiyaari
?? tumhaari
?? tumhaari
?? tumhaari
mahima hai teri nyaari
Hai dhanya tu Bharat naari
mahima hai teri nyaari

tan man dhan unke charnon par
tan man dhan unke charnon par
tan man dhan unke charnon par
sachmuch toone waar diya
sachmuch toone waar diya
tan man dhan unke charnon par
sachmuch toone waar diya
preetam pag anuraagini toone
aisa adbhut pyaar kiya
preetam pag anuraagini toone
kaisa adbhut pyaar kiya
aa aa aa aa

????
charnon par balihaari
sab charnon par balihaari
sab charnon par balihaari
?? vibhooti aaari
?? vibhooti aaari
vibhooti aaari
mahima hai teri nyaari
Hai dhanya tu Bharat naari
mahima hai teri nyaari
tan man dhan unke charnon par
tan man dhan unke charnon par
tan man dhan unke charnon par
sachmuch toone waar diya
tan man dhan unke charnon par
sachmuch toone waar diya
preetam pag anuraagini toone
aisa adbhut pyaar kiya
aa aa aa
preetam charnon par balihaari
main akshay ki ??
??
??
mahima hai teri nyaari


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3767 Post No. : 14740

“Aabshaar”(1953) was produced and directed by Hasrat Lucknowi for Globe Pictures, Bombay. The movie had Nimmi, Ashok Kumar, Rajkumar, Shyama, Nigar Sultana, Om Prakash, Lalita Pawar, Kuldip, Tiwari, Shyam Lal, Iftikhar, Neelam, Chandni, Leela Pandey etc in it.

The movie had eight songs in it which were penned by three lyricists and composed by three music directors, with five singers lending their voices in these songs.

Two songs from this movie have been covered in the past.

Here is the next song from the movie to appear in the blog. According to HFGK, this song is a multiple version song. One version is sung by Lata and another version by Rajkumari. Sarshar Sailaani is the lyricist. Music is composed by Bhola Shreshtha.

Only Lata version of the song is available and it is a lovely song to listen to. I am sure Rajkumari version would sound just as sweet when we can locate that.
[Editor Note: The Rajkumari version of this song is also now uploaded by Sudhir ji.]

Only the audio of the son is available. I request our knowledgeable readers to throw light on the picturisation of the song.

[Lata Version]

[Rajkumari Version]

Song-Mujhko hai tujhse pyaar kyun (Aabshaar)(1953)Singer-Lata/ Rajkumari, Lyrics-Sarshar Sailaani, MD-Bhola Shreshtha

Lyrics

Lata Version
o o o
o o o
mujhko hai tujhse pyaar kyun
pyaar kyun

mujhko hai tujhse pyaar kyun
mujhko hai tujhse pyaar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun

itni kathor preet kyun
preet ki hai ye reet kyun
itni kathor preet kyun
teri hamesha jeet kyun oon oon oon
teri hamesha jeet kyun
meri hamesha haar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun

mehki hui hawa bhi hai
behki hui ghata bhi hai ae
mehki hui hawa bhi hai
behki hui ghata bhi hai
aise mein haaye dil mera aa aa aa aa
aise mein haaye dil mera
dhadke hai baar baar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun
pyaar kyun
pyaar kyun

Rajkumari Version

mujhko hai. . .
tujhse pya..aar kyon

mujhko hai tujhse pyaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon

dil mein khayaal e yaar hai
dil mein khayaal e yaar hai
dil hai khayaal e yaar mein
dil hai khayaal e yaar mein
itna khayaal e yaar kya
itna khayaal e yaar kya
itna khayaal e yaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon

aankhen karo na chaar tum
aankhen karo na chaar tum
rooth rahe hain ?? tum
rooth rahe hain ?? tum
aaoge ek baar tum
aaoge ek baar tum
dil ko hai ye aitbaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon
pyaar kyon. . .

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

लता की आवाज़

ओ ओ ओ
ओ ओ ओ
मुझको है तुझसे प्यार क्यों
प्यार क्यों

मुझको है तुझसे प्यार क्यों
मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों

इतनी कठोर प्रीत क्यों
प्रीत की है ये रीत क्यों
इतनी कठोर प्रीत क्यों
तेरी हमेशा जीत क्यों॰ ॰ ॰
तेरी हमेशा जीत क्यों
मेरी हमेशा हार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों

महकी हुई हवा भी है
बहकी हुई घटा भी है
महकी हुई हवा भी है
बहकी हुई घटा भी है
ऐसे में हाए दिल मेरा॰ ॰ ॰
ऐसे में हाए दिल मेरा
धड़के है बार बार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों
प्यार क्यों
प्यार क्यों
प्यार क्यों

राजकुमारी की आवाज़

मुझको है॰ ॰ ॰
तुझसे प्या॰॰आर क्यों

मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों

दिल में ख्याल ए यार है
दिल में ख्याल ए यार है
दिल है ख्याल ए यार में
दिल है ख्याल ए यार में
इतना ख्याल ए यार क्या
इतना ख्याल ए यार क्या
इतना ख्याल ए यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों

आँखें करो ना चार तुम
आँखें करो ना चार तुम
रूठे रहे हैं ?? तुम
रूठे रहे हैं ?? तुम
आओगे एक बार तुम
आओगे एक बार तुम
दिल को है ये एतबार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों॰ ॰ ॰


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3761 Post No. : 14734 Movie Count :

4027

“Ajaamil”(1948) was directed by Jamnadas Kapadia for Sanskar Chitra, Bombay. The movie had Umakant, Malti, Kanta Kumari, Narmadashankar, Kashinath, Bhimji Bhai, Chandrika, Shanta bai, Suresh, Manhar Desai etc in it.

This obscure movie had twelve songs according to HFGK. A few of these songs have become available on YT. Though HFGK is silent about the singers of all these songs, One can make out which song contain which voices.

Here is the first song from “Ajaamil”(1948) to appear in the blog. This song is sung by Rajkumari. Lyrics are penned by Kavi Prabhulal Dwiwedi according to HFGK. Music is composed by Master Mohan junior.

It is interesting to note that the uploader of this song, well known record collector Mr Girdharilal Vishhwakarma mention the lyricist as S P Tripathi, an entirely different name from what is mentioned in HFGK. I have gone with the name provided by uploader.

Music is composed by Master Mohan Junior.

With this song, “Ajaamil”(1948) makes its debut in the blog. As many as 149 HIndi movies were released in 1948. With this song, “Ajaamil”(1948) becomes the 100th movie of 1948 to find representation in the blog. So this is yet another example of an “artificial” though significant landmark for the blog. 🙂


Song-Maanat naahin bihaari re (Ajaamil)(1948) Singer-Rajkumari, Lyrics-S P Tripathi, MD-Master Mohan Junior

Lyrics

Maanat naahin bihaari re ae
laakh jatan kar haari re ae
Maanat naahin bihaari re ae
laakh jatan kar haari re ae

jaaun jahaan main
sang sang doley
jaaun jahaan main
sang sang doley
madhur madhur sur
bain wo boley
naath hamaare
nain ishaare
lok ki laaj bisaari re ae
lok ki laaj bisaari re ae
Maanat naahin bihaari re ae
laakh jatan kar haari re ae

aap mahaawar mehndi lagaaye
aap mahaawar mehndi lagaaye
aap hi ang hamaar sajaaye
aap hi mohe paan khilaaye
haat se apne lagaayi re
haat se apne lagaayi re
Maanat naahin bihaari re
laakh jatan kar haari re

roothh jo jaaun
mujhko manaaye
roothh jo jaaun
mujhko manaaye
pair paden
aur binti sunaayen
nain neer se
dhoye charan mora
kare manuhaar wo bhaari re ae
kare manuhaar wo bhaari re ae
Maanat naahin bihaari re ae
laakh jatan kar haari re ae
Maanat naahin bihaari re ae
laakh jatan kar haari re ae


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15516

Number of movies covered in the blog

Movies with all their songs covered =1196
Total Number of movies covered =4277

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